American Realist Art

Signed (at lower right): FJK

Norman Rockwell (1894-1978) First Airplane Ride/ Old Women Riding Airplane, 1938 Originally created as cover illustration for The Saturday Evening Post. Media print lithography on paper, this twelve-color lithograph was hand proofed and printed at Atelier Ettinger in December 1976. A/P Artist Proof impression on papier d'Arches. Hand signed in pencil by Norman Rockwell. hand editioned and with publishers blindstamp. Norman Percevel Rockwell (1894 – 1978) was an American author, painter and illustrator. His works have a broad popular appeal in the United States for their reflection of American culture. Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine in a modern folk art style over nearly five decades. Among the best-known of Rockwell's works are the Willie Gillis series, Rosie the Riveter, The Problem We All Live With, Saying Grace, and the Four Freedoms series. He is also noted for his 64-year relationship with the Boy Scouts of America (BSA), during which he produced covers for their publication Boys' Life, calendars, and other illustrations. These works include popular images that reflect the Scout Oath and Scout Law such as The Scoutmaster, A Scout is Reverent and A Guiding Hand, among many others. Rockwell was also commissioned to illustrate more than 40 books, including Tom Sawyer and Huckleberry Finn as well as painting the portraits for Presidents Eisenhower, Kennedy, Johnson, and Nixon, as well as those of foreign figures, including Gamal Abdel Nasser and Jawaharlal Nehru. His portrait subjects included Judy Garland. One of his last portraits was of Colonel Sanders in 1973. His most popular calendar works: the "Four Seasons" illustrations for Brown & Bigelow that were published for 17 years beginning in 1947 and reproduced in various styles and sizes since 1964. He painted six images of classic Americana for Coca-Cola advertising. Illustrations for booklets, catalogs, posters (particularly movie promotions...

John Taylor Arms was known for making such finely drawn etchings that commercial tools were not good enough: He regularly used sewing needles with corks for handles. Made during Worl...

MOA-NA-HON-GA. GREAT WALKER. AN IOWAY CHIEF., from History of the Indian Tribes of North America Artist:Charles Bird King Publisher:McKenney and Hall hand-colored engraving on paper ...

Nude Female Torso Charcoal on paper, c. 1920 Stamped and initialed in pencil "Asa Cheffetz/A.D.C" Estate signature by wife, A.D.C. Exhibited: Museum of F...

THOMAS HART BENTON (1889-1975) MISSOURI FARMYARD, 1936 (Fath 10) AKA KANSAS FARMYARD Lithograph as published by Associated American Artists. Edition 250. Signed in pencil and in the...

Hutty, Alfred. PHOEBE PASSES MY GATE. Drypoint, c. 1931. Edition size c.75. 8 1/8 x 7 1/4 inches (plate), 10 1/4 x 8 3/4 inches (sheet). Printed on laid paper. In excellent condit...

THOMAS HART BENTON (1889-1975) INSTRUCTION 1940 (Fath 41) Lithograph, signed edition of 250 as published by Associated American Artists. 10 ¼” x 12 ¼”. Full margins, deckle edges....

Original vintage poster: Buy Extra Bonds!, the 1944 U.S. World War II (WWII) War Bonds poster ("Back 'Em Up!") encouraging people to purchase more than the recommended amount of war bonds and featuring Boris Chaliapin...

Zoe Hawk Artist Statement My work deals with the complex experience of girlhood, exploring adolescent anxiety, feminine identity, and belonging. These themes are tackled within scen...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

Jerry Berneche (1932 - 2016) was a painter and draftsman of representational scenes and portraits featuring extraordinary color work and extremely detailed mark-making. Locally he is...

The Golden Gate Lithograph on wove paper watermarked GC, 1940 Signed in pencil by the artist (see photo) Publisher: Associated American Artists Edition: 189, unnumbered The image depicts The Golden Gate Bridge which connects San Francisco and Marin County, California References And Exhibitions: Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 13.17, page 324 Reference: L & O 325 AAA Index 391 Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

Original "Clear the Way !!" Buy Bonds Fourth Liberty Loan vintage poster.. With Lady Liberty holding the U. S. Flag above the soldiers prepari...

By John Sloan American Realist From the early 20th century Ashcan School which focused on capturing day to day life in New York City during that period. Image size: 5.75" x 4.25" Et...

Represented by George Billis Gallery. Realism as a style has basically remained unchanged since the Renaissance. Realism as a technique, however, has definitely been altered and heav...

Kevin Frank is represented by George Billis Gallery. Kevin Frank statement: For me, combining the techniques of the ancient Greco-Roman painters with those of the old and new master...

Original vintage poster: …BECAUSE SOMEBODY TALKED. Original World War II (2) linen-backed 1944 poster. Artist: Wesley Heyman. Size 20" x 28" Linen backed. Excellent conditi...

ASHLEE SELBURG Garden Party II Ink and pencil on paper 18 x 14 inches

Horses Leaving the Barn Watercolor on paper, 1940 Signed and dated lower left corner (see photo) Condition: Excellent Image: 14 1/2 x 21” Frame: 25” x 31” Provenance; Associated American Artists, New York (see photo of label) Mamdouha and Elmer Holmes Bobst Displayed in an original wormy chestnut frame with OP3 Acrylic. Most probably from the AAA Dehn watercolor exhibition of 1940. Vintage original framing chosen by the artist. Note: Elmer Holmes Bobst (1884–1978) was an American businessman and philanthropist who worked in the pharmaceutical industry. His wife, Mamdouha, was also well known philanthropist. Bobst was born in Lititz, Pennsylvania. He aspired to become a doctor, but instead, he taught himself pharmacology. After his wife Ethel composed his interview letter, he became manager and treasurer of the Hoffman-LaRoche Chemical Works by 1920. When Bobst retired from the company in 1944, he was one of the nation's highest paid corporate executives. In 1945 he took charge of the ailing William Warner Company (later Warner–Lambert) and he remained board chairman until his retirement. Bobst had close connections to President Dwight Eisenhower, but was also a close friend of President Richard Nixon. Note: In 1940, the year of this watercolor, Dehn and Elizabeth Timmerman visited Waterville, MN on their way to Colorado Sprint, Colorado where Dehn was to teach lithography and watercolor. This watercolor is obviously a view of the area around Waterville. Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

Original "SHALL WE BE MORE TENDER WITH OUR DOLLARS THAN WITH THE LIVES OF OUR SONS?" vintage poster. Buy a United States Government Bond of the 2nd LIBERTY LOAN of 1917. Depict...

Daffodil, Daniel Blagg, Oil on Canvas, 42 x 54", 2019 A well-known figure of the contemporary Fort Worth art scene, Daniel Blagg has worked in the DFW ar...

Offered at an exceptional price, this piece is in excellent condition and will ship rolled. Edition number 49 / 200. There are 200 pieces in the edition all signed and numbered by...

This watercolor painting from 1940 depicts a scene of sharecroppers working in a cotton field. This piece represents a blend of American Realism and a more figurative, impressionisti...

"Drawing with Water" is an interior watercolor painting featuring hues of blue, purple, green, red and orange. Kathryn Keller is inspired by the works of George Inness, Edward Hopper, Giorgio Morandi & Alexander Drysdale. Kathryn Keller is a painter based in New Orleans and Alexandria, Louisiana. She received a BA in Fine Art and English from the University of the South...

Figure Study No. 3 c. 2016 Charcoal on paper 26 x 16 inches Jessica Keiser currently resides in New Haven, Connecticut. Keiser's style is Naturalistic, concerned with the intimacy ...

Study for the Mural "Westward Movement" Graphite, watercolor, gouache and paint on paper, 1936 Signed in pencil lower center (see photo) A study leading up to his mural Justice of th...

Pencil Study #22 2016 Graphite on paper 10 x 4.25 inches Jessica Keiser currently resides in New Haven, Connecticut. Keiser's style is Naturalistic, con...

This artwork titled "Bouquet" c.1990 is a original color lithograph on Arches paper by noted American artist Gary Bukovnik, born 1947. It is unsigned. The image size is 39.75 x 12 in...

Mystery monogrammed early San Francisco etching. Great little piece of San Francisco history showing a lighthouse in Golden Gate. Etching measure...

Early Speed Lithograph, 1953 Signed lower right Edition 250 Published by Associated American Artists Illustrated: AAA catalog 1953-03 Reference: AAA Index 1187 Condition: The sheet i...

Pencil Study #13 2016 Graphite on paper 13 x 7 inches Jessica Keiser currently resides in New Haven, Connecticut. Keiser's style is Naturalistic, concer...

'Scratchin' High', etching, edition not stated, c. 1919. Signed in pencil. A fine, rich impression, in warm black ink, on cream wove paper, with margins (11/16 to 2 1/8 inches). Two small spots of toning in the bottom right margin, away from the image; barely visible printing creases in the top left margin and the middle right background, otherwise in very good condition. Matted to museum standards, unframed. ABOUT THIS WORK The cowboy's work of breaking wild horses into riding horses evolved into the competitive sport of professional rodeo in the 1880s. In 1919 at the Calgary Stampede in Alberta, Canada, Borein sketched a rider on the famous bucking horse named 'I-See-U'. He later made this etching of the dramatic scene, entitling it 'Scratchin' High'. ''Scratching'' refers to the rider's technique of maintaining balance on a bucking horse by a continuous movement of the feet in a kicking motion. Impressions of this work are in the permanent collections of the Buffalo Bill Center of the West (online), and the Whitney Western Art Museum. ABOUT THE ARTIST No other artist captured the "disappearing West" with the authenticity and spirit of John Edward Borein (1872-1945). A native of the San Francisco Bay Area, Borein rode south in 1893 at the age of twenty-one, and over the next few years, worked his way through California and the vast stretch of Mexico. While on the range, the young cowboy sketched...

Original French Line Normandie horizontal cruise line shipping lithograph. Artist Albert Sebillle with signature in the plate, lower right corner. Arch...

Eclectic artist, born in Atri in Abruzzo in 1980, he works in the field of contemporary art with conceptual creations from the age of 18 years. He currently lives in Puglia. In his s...

Basilica of Madeleine, Vezelay Etching, 1929 Signed and dated lower right (see photo) Annotated: "Third State" lower left Printed on a sheet of old book paper From: French Church Ser...

Pencil Study #3 2016 Graphite on paper 11 x 8 inches Jessica Keiser currently resides in New Haven, Connecticut. Keiser's style is Naturalistic, concerned with the intimacy of the...

Original BOAC Africa, unfolds the world vintage travel poster. Archivally linen backed in fine condition, ready to frame. British Overseas Airline Corporation This poster ‘unfold the world’ with travel to Africa. The image of a mother elephant with her baby create a cloud of dust as they come into a face to face view. This is one of the seldom if ever seen, original BOAC posters...

Untitled (Female Nude) Graphite and sgrafitto on yellow paper, 1987 Signed lower right Note: Steven Assael is represented by Forum Gallery in New York. In 1977 he won the Charles Ro...

Russell Drisch is a photographer and painter who resided in Buffalo NY during the 1970s and 80s. Originally an actor, Drisch moved to Buffalo to play two seasons at Studio Arena Theater. During this time, his interest in photography overcame his love for theater. He left acting and opened Drisch Photography studio and Gallery West. His works has been exhibited in many different cities Such as New York and Toronto. They have been published in Time Magazine Aperture, 1977. Some of the photographers in this issue: Walter Chappell, Jerome Liebling, Russell Drisch, Brewster Ghiselin. Also there is an excerpt Eikoh Hosoe's seminal book Ordeal by Roses" with some text by Yukio Mishima...

Artist: Will Barnet, American (1911 - 2012) Title: Dawn Year: 1975 Medium: Lithograph on Arches, signed in pencil Edition: 59/175 Image Size: 24 x 11 in. Frame Size: 36 x 25 inches ...

Original linen-backed ‘FLYING TIGERS - A legend in air cargo;, aviation vintage poster for sale. This poster is part of The Smithsonian National Air...

This artwork titled "Iris" 1996 is a original color lithograph on Wove paper by noted American artist Gary Bukovnik, born 1947. It is hand signed, dated and numbered 131/135 in penci...

Signed (lower right): ELEANOR PARKE CUSTIS

An important American watercolor painting study for a stained glass panel, by the celebrated American artist John La Farge (1835-1910), the painting titled an...

Dona Ascensione Off set lithograph, 1932/published 1950 Signed in pencil by the artist lower right (see photo) Titled in the stone, lower left From: New Mexico Artist...

Blue Wing Etching, c. 1940 Signed in the lower right (see photo) Created while the artist was a commercial artist working in Minneapolis, after his tenure o...

Genre: Other Subject: Landscape Medium: Other, Gouache Surface: Paper Dimensions w/Frame: 21" x 23" SELMA GUBIN Kiev, Ukraine - New York, USA, b. 1903, d. 1974 Selma Gubin was bor...

Title: Home Run Genre: Realism, sports, baseball Subject: People Medium: Oil (this might be acrylic, it feels like oil) on canvas Country: United States Dimensions: framed 23 X 25 sight 17.5 X 19.5 Provenance: Sande Webster Gallery in Philadelphia (bears label verso) Faintly signed lower right (see photos) Andrew Turner was born in 1944 in Chester, Pennsylvania. He was a graduate of Temple University Tyler School of Art. Andrew’s work has been widely acclaimed, with many solo exhibitions and participation in group exhibitions. He has taught art in grades K-12 in the Chester, Pennsylvania Public Schools and in correctional centers. His appointments include Artist-in-Residence and Curator, Deshong Museum, Chester, PA; Lecturer, Widener University; Lecturer, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA; and, he toured and lectured in The People’s Republic of China. Andrew’s paintings are included in the collections of Woody Allen, Dr. Maya Angelou, ARCO Chemical Company, Bell Telephone Company, Dr. Constance Clayton, Mr. and Mrs. Bill Cosby, Edie Huggins, the artist previously known as Prince, Maya Angelou, Eric Lindros, Mr. and Mrs Louis Madonni, Moses Malone, Penn State University, Prince, Mr. and Mrs. Harold Sorgenti, Swarthmore College, Mrs. Marilyn Wheaton, and Widener University Deshong Museum, just to name a few. He has been featured in numerous solo exhibitions and group exhibitions in the United States and abroad. In an interview prior to his death in 2001, Turner noted, "My paintings combine the drama inherent in seventeenth century Dutch painting with the brush work and the economy of the Impressionists. However, I look to the jazz idiom more so than to other contemporary visual artists for guidance and inspiration. I tend to measure the success of my pieces by how they stand up technically, emotionally and innovatively to a John Coltrane solo or whether I've captured the spirit of the occasion, a la Duke Ellington. The subject matter, sometimes nostalgic recollections of my days as a young tough, covers a myriad of common folk activities. This one is reminiscent of Purvis Young. "The setting, usually my native Chester, is a beehive of creative stimulation or a deteriorating ghetto depending on my state of mind. At the very least, hopefully, these vignettes of experience will help to provide insight into some African American lifestyles and serve as an inspiration to my students and others to continue the legacy of African American participation in the arts." Folk Artist, Outsider artist, Folk Art. His work is from the true original street artist such as Purvis Young and the early Brooklyn street art Jean Michel Basquiat. “My paintings combine the drama inherent in seventeenth century Dutch painting with the brush work and the economy of the Impressionists. However, The setting usually my native Chester, is a beehive of creative stimulation or a deteriorating ghetto depending on my state of mind. At the very least, hopefully, these vignettes of experience will help to provide insight into some African American lifestyles and serve as an inspiration to my students and others to continue the legacy of African American participation in the arts.” He was included in the seminal show PHILADELPHIA (PA). Woodmere Art Museum. In Search of Missing Masters: The Lewis Tanner Moore Collection of African American Art. September 28, 2008-February 22, 2009. Artists: Henry Ossawa Tanner, Romare Bearden, Elizabeth Catlett, Barbara Chase-Riboud, Joseph Delaney, Sam Gilliam, Leroy Johnson, Lois Mailou Jones...

Thomas Hart Benton, 'Threshing', lithograph, 1941, edition 250, Fath 48. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impression, on off-white, wove paper, with full margins (1 3/8 to 1 5/8 inches), in excellent condition. Published by Associated American Artists. Image size 9 5/16 x 13 13/16 inches (237 x 351 mm); sheet size 12 1/2 x 16 5/8 inches (318 x 422 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the following museum collections: Art Institute of Chicago, Fine Arts Museums of San Francisco, High Museum of Art, McNay Art Museum, Montgomery Museum of Fine Arts, and Nelson-Atkins Museum of Art. ABOUT THE ARTIST “Benton’s idiom was essentially political and rhetorical, the painterly equivalent of the country stump speeches that were a Benton family tradition. The artist vividly recalled accompanying his father, Maecenas E. Benton — a four-term U.S. congressman, on campaigns through rural Missouri. Young Tom Benton grew up with an instinct for constituencies that led him to assess art on the basis of its audience appeal. His own art, after the experiments with abstraction, was high-spirited entertainment designed to catch and hold an audience with a political message neatly bracketed between humor and local color.” —Elizabeth Broun “Thomas Hart Benton: A Politician in Art,” Smithsonian Studies in American Art, Spring 1987, p. 61 Born in 1889 in Neosho, Missouri, Benton spent much of his childhood and adolescence in Washington, D.C., where his lawyer father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to groom him for a political career, Benton’s father sent him to Western Military Academy. After nearly two years at the academy, Benton convinced his mother to support him through two years at the Art Institute of Chicago, followed by two more years at the Academie Julian in Paris. Benton returned to America in 1912 and moved to New York to pursue his artistic career. One of his first jobs was painting sets for silent movies, which were being produced in Fort Lee, New Jersey. Benton credits this experience with giving him the skills he needed to make his large-scale murals. When World War I broke out, Benton joined the Navy. Stationed in Norfolk, Virginia, he was assigned to create drawings of the camouflaged ships arriving at Norfolk Naval Station. The renderings were used to identify vessels should they be lost in battle. Benton credited being a ‘camofleur’ as having a profound impact on his career. “When I came out of the Navy after the First World War,” he said, “I made up my mind that I wasn’t going to be just a studio painter, a pattern maker in the fashion then dominating the art world–as it still does. I began to think of returning to the painting of subjects, subjects with meanings, which people, in general, might be interested in.” While developing his ‘regionalist’ vision, Benton also taught art, first at a city-supported school and then at The Art Students League (1926–1935). One of his students was a young Jackson Pollock, who looked upon Benton as a mentor and a father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The ‘America Today’ mural, now on permanent exhibit at the Metropolitan Museum of Art, was followed by many more commissions as Benton’s work gained acclaim. The Regionalist Movement gained popularity during the Great Depression of the 1930s. Painters, including Benton, Grant Wood, and John Steuart Curry, rejected modernist European influences preferring to depict realistic images of small-town and rural life—reassuring images of the American heartland during a period of upheaval. Time Magazine called Benton 'the most virile of U.S. painters of the U.S. Scene,' featuring his self-portrait on the cover of a 1934 issue that included a story about 'The Birth of Regionalism.' In 1935, Benton left New York and moved back to Missouri, where he taught at the Kansas City Art Institute. Benton’s outspoken criticism of modern art, art critics, and political views alienated him from many influencers in political and art scenes. While remaining true to his beliefs, Benton continued to create murals, paintings, and prints of some of the most enduring images of American life. The dramatic and engaging qualities of Benton’s paintings and murals attracted the attention of Hollywood producers. He was hired to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s ‘Grapes of Wrath’ produced by Twentieth Century Fox. Benton’s work can be found at the Art Institute of Chicago, High Museum of Art, Fine Arts Museums of San Francisco, Library of Congress, McNay Art Museum, Metropolitan Museum of Art, Minneapolis Institute of Arts, Montgomery Museum of Fine Arts, National Gallery of Art, Nelson-Atkins Museum of Art, Smithsonian American Art Museum, Whitney Museum of American Art, The Truman Library and many other museums and galleries across the US. He was elected to the National Academy of Design, has illustrated many books, authored his autobiography, and is the subject of ‘Thomas Hart Benton,’ a documentary by Ken Burns.

Nicholas Berger Biography American, b. 1949 In his more than three decades as an artist, Nicholas Berger (b. 1949) has created an outstanding body of work that continues to evolve a...

Starlie Sokol-Hohne (American, b. 1958) was born in Santa Monica, California and completed her studies at UCLA in 1980. Combining images of antiquity with contemporary mixed media pr...

This plein air painting was done on site at St. Mary's Church in Schulenburg, Texas. The church is known for the interior paintings and the steeple. St. Mary Catholic Church is nestled in the community of High Hill, Texas, just 3 miles north of I-10 in Schulenburg. The area, rich in a German-Czech heritage, was established more than 150 years ago. The first St. Mary church was built in 1869. A larger...

Original The Evergreen Playground Kroll Map Company vintage poster. Archival linen backed in fine condition. A- condition with only 1 small repair on the outer border in the white area. No tears nor stains. This map was originally drawn during the Great Depression by Ed Poland, Chief Cartographer of many years here at Kroll Map Company. A pictorial bird's eye view of the Puget Sound...