Albert Al Hirschfeld Mixed Media

"Dragon," by Quang Ho, is a secondary market work with one previous owner. It is signed and dated (1988) on the lower left. The painting comes with it's original frame (measures 50 x...

A simply marvelous drawing - a self-portrait of the artist himself. It also reads as a very elegant and expressive line drawing of any gentleman - a hallmark depiction of a bon-vi...

Untitled (Joe Louis knocking out Max Schmeling in 1938 rematch) Pen and ink with wash on heavy wove sketchbook paper, 1938 Signed lower right: Fletcher Martin Directly related to Martin's famous painting of 1942 entitled "Lullaby", which was also used in the lithograph of the same name. (see photo) The drawing depicts the third and final knockdown of Max Schmeling in their rematch of 1938. Condition: Mat staining at the edges of the sketchbook page edges Toning to verso from previous framing. Does not affect framed presentation "It was here that Louis first used sport to bridge America's cavernous racial divide. With Hitler on the march in Europe and using Schmeling's victory over Louis as proof of “Aryan supremacy,” anti-Nazi sentiment ran high in the States. Louis had long grown accustomed to the pressures of representing his race but here the burdens were broader and deeper. Now he was shouldering the hopes of an entire nation. A few weeks before the match Louis visited the White House and U.S. President Franklin Delano Roosevelt, whose tenure lasted even longer than Louis' would, told him, “Joe, we need muscles like yours to beat Germany.” Those muscles certainly beat Schmeling on fight night...

Lionel S. Reiss (1894 - 1988) Lobstermen in Gloucester, Massachusetts, circa 1943 Watercolor on paper Sight 17 1/2 x 23 inches Signed lower left Provenance: Private Collection, Las Vegas, Nevada In describing his own style, Lionel Reiss wrote, “By nature, inclination, and training, I have long since recognized the fact that...I belong to the category of those who can only gladly affirm the reality of the world I live in.” Reiss’s subject matter was wide-ranging, including gritty New York scenes, landscapes of bucolic Bucks County, Pennsylvania, and seascapes around Gloucester, Massachusetts. However, it was as a painter of Jewish life—both in Israel and in Europe before World War II—that Reiss excelled. I.B. Singer, the Nobel Prize winner for Literature, noted that Reiss was “essentially an artist of the nineteenth century, and because of this he had the power and the courage to tell visually the story of a people.” Although Reiss was born in Jaroslaw, Poland, his family immigrated to the United States in 1898 when he was four years old. Reiss's family settled on New York City’s Lower East Side and he lived in the city for most of his life. Reiss attended the Art Students League and then worked as a commercial artist for newspapers and publishers. As art director for Metro-Goldwyn-Mayer, he supposedly created the studio’s famous lion logo. After World War I, Reiss became fascinated with Jewish life in the ‘Old World.’ In 1921 he left his advertising work and spent the next ten years traveling in Europe, the Middle East, and North Africa. Like noted Jewish photographers Alter Kacyzne and Roman Vishniac, Reiss depicted Jewish life in Poland prior to World War II. He later wrote, “My trip encompassed three main objectives: to make ethnic studies of Jewish types wherever I traveled; to paint and draw Jewish life, as I saw it and felt it, in all aspects; and to round out my work in Israel.” In Europe, Reiss recorded quotidian scenes in a variety of media and different settings such as Paris, Amsterdam, the Venice ghetto, the Jewish cemetery in Prague, and an array of shops, synagogues, streets, and marketplaces in the Jewish quarters of Warsaw, Lodz, Krakow, Lublin, Vilna, Ternopil, and Kovno. He paid great attention to details of dress, hair, and facial features, and his work became noted for its descriptive quality. A selection of Reiss’s portraits appeared in 1938 in his book My Models Were Jews. In this book, published on the eve of the Holocaust, Reiss argued that there was “no such thing as a ‘Jewish race’.” Instead, he claimed that the Jewish people were a cultural group with a great deal of diversity within and between Jewish communities around the world. Franz Boas...

I am Human Watercolor, ink on paper 49"x42" framed Keith Carrington Keith Carrington’s experiences have led him to express his talents through the fluid a...

Figure study drawing with two nudes by Michael William Eggleston (American, 20th Century). Signed with the initials "MWE" in the lower right co...

Beautiful mid-century landscape watercolor with a tall, stately tree in the foreground, its many forking branches depicted with exceptional detail, and a verdant background of rollin...

The Pin-Up of ravishing young beauties in mid-century America was a widely popular art form. The assumption that Pin-Up art was the exclusive domain of men is a misnomer. Female illu...

Graceful depiction of seated nude female figure by Joseph Yeager (American, 20th Century). Unsigned, but was acquired with a collection of Joseph Yeager works directly from the estate. This piece is on heavy bond paper with ragged edges. No frame. Joseph "Joe" Yeager (American, 20th Century) was raised in Cleveland Ohio, where he went to art school at night and started his art career at 19. He was a commercial artist for the Cleveland Press...

Anthony Baus is an alumnus and instructor of the Grand Central Atelier in Long Island City, New York. His unique artistic vision, which mines the world of the Old Masters and antiqui...

American Impressionist

Jazmen Pen and ink on paper, 2013 Signed and titled lower right (see photo) Annotated: “I want to go to Dunbar,…because my friends are there…” Series: The 99% - Highland Hills Exhib...